“In lieu of flowers, please send beer.” The foie gras of Canterbury prog left uneaten and now home to iridescent maggots. 21st Century Band offers new excursions into redundancy and tonal dismay. Pathetic junk metal consumes itself amidst the banal landscape of public parks and fish hatcheries. The fever dream of Changez Les Blockers is reimagined as outtakes from National Healths D.S. Al Coda. Tape collage distracts event from inception. An open air festival is caught from the other side of a canal. All were given is cheap percussion, feedback and bland field recordings. The leftovers of Italian PE are still in the fridge - Public Assault 2 & a little song of Rochester. Tupperware. Deference is paid to the waste basket in the kitchen and the creak of a screen door. We enter the endless backyard & its bad post-punk with an 8.6% ALC. content. Music should be left to the professionals, but wheres the fun in that? Its almost as easy to live as it is to die. Mastered by Sean McCann.”

Artist: A BAND
Title: Live At The Canning Factory
Format: CD
Label: No Label
Country: UK
Price: $12.00

"A replica reissue of Rashied Ali and Frank Lowes Duo Exchange LP from 1973, originally released by Survival Records. From Thurston Moores Top Ten Free Jazz Underground (1996): "Frank Lowe has been studying and playing a consistently developing tenor sax style for a few decades now. At present hes been swinging through a Lester Young trip, which can be heard majestically on his Ecstatic Peace recording Out Of Nowhere (1993). In the early 70s, however, he was a firebrand who snarled and blew hot lava skronk from loft to loft. He played with Alice Coltrane on some of her more out sessions. Rashied Ali was the free-yet-disciplined drummer whom Coltrane enlisted to play alongside Elvin Jones and Pharaoh Sanders (and Alice) in his last mind-bending, space-maniacal recordings (check out surely the Coltrane/Ali duet CD Interstellar Space (1974)). Elvin quit the group because Rashied was too hardcore. Those were the fuckin days. And Rashied had his own club downtown NYC called Alis Alley. Duo Exchange is Rashied and Frank completely going at it and just burning notes and chords wherever they can find em. Totally sick. Survival was Rashieds record label which had cool b&w matte sleeves and some crucial releases mostly with his quartet/quintet and a duo session with violinist LeRoy Jenkins."

"Sui Generis: Not only the amazing duo from Argentina & "INFINITE JEST" but surely what we are ALL in the sound game for. Anyone with two east/west northern holes above your bone box nugg is on constant HUNT for THAT jam that has no pre/no post: A creeping isolated "sound being" adrift in a fontad sea in a lost forgotten world
. Too rare a task in this 20th Century Schizo reference recycled derivative genre-based underground? Hell yes- But they are around and well well look here: In your greasy mitts is a stone cold MONSTER of Sui Generis frightening proportions. The mysterious & elusive ALIEN CITY LP. Info on is nearly nonexistent - Seattle, "Dog Star" label- rumors of tapes: mental institutions: thats about it: But the year 79 adds some hints: froward Glam-ish moves, eeerr... "basement" prog- a smart arty trench coat/lip stick cosmic vibe: its all there but its the overall "sheen" is mixed with some of the sharpest hooks known to the no-budget private record outsider dreamer-type. A dateless cousin to the equally weird STRANGE "Souvenir Album" lp from around the same time/state?? Ever made a Kinkos (whoops FED EX) run @ midnight and theres a total loner weirdo copying homemade gnostic symbols in a unholy ferver? Heres his LP: warts and all. "Alien City" nearly has a "Killing With Capitalism With Kindness" sense of song writing: water brain logged obsessive / anxious short vignettes stringed together to paint a picture of the mouths & neon green-gray blood pumping hearts via the "Olden Men." The Lp coms from a universe filled with busy rambling minds in cheap downtown makeup worried about how to "Keep Your Cool." Hard to really pinpoint where this beast crawled from: but it is as addictive as mainlining a Charleston Chew and will stick to your soul with equal chewing elastic permanence. The flow on side two "When Everything Is All Wrong" is about as perf as homemade noncommercial catchy brilliance on a $4 billingsgate budget progressive brilliance can get / this side of Yezda Urfa. Take away your notions of "psych" and "fuzz explosions and "ego psych" as this is more like seeing a theatre play by a Todd Rungren obsessed zoner-loner on Halloween with nothing but mannequin heads as the audience. If you find the current crop of Aussie songsmith smart punx youth trying to write the next "Point That Thing Somewhere Else" as dull as the noise cassette your dentist told you to czech out: Bury yourself DEEP inside this claustrophobic world and just SEE the effect it will seep into the seams of your life. The maze Alien City will draw you into Borges style will be one tuff exit, but full of all sorts of outerworldy treasures filled with intimate shaky inexplainable wonders: AND at the the very least the Minotaur inside is a skinny glasses-type that could end up being more annoying than flesh-eating. SHOULD have liner notes by "The Killing" series and the previously mentioned David Foster Wallace... Forget the jingoism & not trying to exhort any player but :this is The STRANGEST date-night LP of 2014. MASTERPIECE THEATRE INDEED."

"First reissue of Robbie Bashos The Falconers Arm, Vol. 1, originally released by John Faheys Takoma label in 1967. The Falconers Arm pair of LPs (this record and the simultaneously reissued Vol. 2 (C 1018LP)) is widely considered Bashos best work; monumental pieces of folk guitar invention from the pioneer, fusing the drones of Indian raga with flamenco and traditional folk. Fully remastered with excellent sound. Limited edition pressing of 500 copies."

"First reissue of Robbie Bashos The Falconers Arm, Vol. 2, originally released by John Faheys Takoma label in 1967. The Falconers Arm pair of LPs (this record and the simultaneously reissued Vol. 1 (C 1017LP)) is widely considered Bashos best work; monumental pieces of folk guitar invention from the pioneer, with guitar lines in unusual tunings influenced by both blues and Indian music. Fully remastered with excellent sound. Limited edition pressing of 500 copies."

Unplayed "deadstock" of this 1978 private release. "boyd barnette moved to sonoma county from san francisco in the mid-70s to escape the noise and confusion of the city, when sonoma was mostly for farm folks. there, he found a small community of artists and musicians who shared his taste in free music and desire for a simple life. an avid and adventurous improviser, boyd recorded and self-released DANCE FOR ISA, a beautiful and unique record of his music, in 1978. half tone poems for solo guitar, and half mossy free-jazz freak-out, DANCE FOR ISA has gone almost completely unheard for nearly forty years.� - P. Smith.

"Ira Cohen was born in New York, NY on February 3rd, 1935. He is the son of the late Lester Cohen and the late Faye Cohen. Mr. Cohen was an innovative and original poet, photographer, filmmaker, publisher, and editor. A self-described "Electronic Multimedia Shaman", he was an active humanist from the 1960s to the present. Mr. Cohen was educated at Horace Mann, Cornell and Columbia. He spent the early 1960s in Tangier, Morocco, where he lived and worked with William S. Burroughs, Brion Gysin, and Paul Bowles. While there, he prepared his first major work; editing and publishing the anthology Gnaoua (1964). This volume contained work by William S. Burroughs, Brion Gysin, Jack Smith, and others.
In the late 1960s, along with Bill Devore he developed and perfected a photography process in his "Mylar Chamber", producing distorted, iconic photographic portraits of Jimi Hendrix, Jack Smith, Robert LaVigne, Angus MacLise, Pharaoh Sanders, and William S. Burroughs, among others. In 1968 he made his first film, The Invasion of Thunderbolt Pagoda, a baroque, underground experimental film. The following year he produced the experimental film Paradise Now in Amerika, documenting the Living Theatres 1968 tour. In the 1970s he lived in Kathmandu, Nepal, and operated the publishing house Bardo Matrix, publishing books and broadsheets on handmade rice paper by authors including Gregory Corso, Charles Henri Ford, Paul Bowles and Angus MacLise, as well as several books of his own such as Gilded Splinters and The Cosmic Crypt, illustrated by Petra Vogt.
After returning to New York City in the early 1980s, he continued to write and publish poetry as well as stage exhibitions of his photography. In 1986, he directed the film Kings With Straw Mats, a documentary about the Kumbh Mela festival, Indias annual pilgrimage and gathering of sadhus and holy men, which premiered in 1996. His primary work since the early 1990s was as a poet and editor; he edited numerous books (Jack Smiths Historical Treasures, Gustav Meyrinks Petroleum Petroleum, and poetry anthologies Shamanic Warriors and Celestial Graffiti) and periodicals (Ins & Outs, Third Rail, Nexus, and 15 Minutes). Mr. Cohen was a participating artist in the Whitney Biennial 2006, Day for Night, which included his photographs of Jack Smith. In the last years of his life, in increasingly declining health, Mr. Cohen gave local poetry readings and received a steady stream of visitors to his home on 106th Street, where the widest possible array of friends and admirers would listen for hours as he would tell stories, read poems and cast insights." Limited to 100 copies - with silkscreened jackets and insert.

"Yow... Heres a full 8 sides of 1983-1996 studio rarities, outtakes, unreleased tracks, impossible to find compilation cuts, 7" and EP tracks and more, all pressed on crystal clear vinyl and packed in a sturdy, hard board box, with a 2-sided tracklist insert plus 36-page booklet full of writings, interviews, reviews, appreciations, reading lists, hate mail, photos, artwork, posters and more. An absolute must for all COIL fanatics! And no need to mention this is likely quite limited."

"A great leap in jazz experimentation, this 1971 release successfully joins American free jazz with ethereal and spiritual Indian classical music. With Coltrane leading on harp and piano, theres a significant presence of Tulsis beautiful tamboura playing on the first 5 tracks, along with the restrained and melodic sax of Pharoah Sanders, bass by Cecil McBee, drums by Rashied Ali, and bells by Majid Shabazz. The 6th and final track was recorded live at The Village Gate, and features some great interplay between Charlie Haden on bass and Vishnu Wood on oud. Original full color artwork."

"A truly great album of lush, mystical jazz, this 1970 release, her 4th as primary composer, finds Coltranes beautiful and amazingly expressive piano and harp playing augmented by first rate performances by Pharoah Sanders and Joe Henderson on both sax and flute, as well as standout bass work by Ron Carter and the perfectly emotive drums of Ben Riley, not to mention the great touch of those bells, added by both Sanders and Chuck Stewart. Original full color artwork."

“From Middle-Eastern dancehall madness, freaky jazz experiments, and heavy dub psychedelia to beautiful piano trips, dark machine raids, and spaced-out traumas. From here to there -- out there, and everywhere. This is the sound of Danish sampling duo Den Sorte Skoles 78-minute album Indians & Cowboys. Here, forgotten musicians from the communal musical treasury come together to jam in a global ghost-orchestra crossing time and space.Indians & Cowboys follows Den Sorte Skoles monumental sample-based 90-minute triple-12"Lektion III (2013), a magnum opus that earned them the Danish Critics Composer of the Year 2014 award and won them an international following, and which Sasha Frere-Jones included as one of six titles in his "What I Missed: 2013 Albums" list for The New Yorker. Den Sorte Skole take their strictly sample-based methodology to even more extreme territories on Indians & Cowboys. With an immense amount of samples, even finer-stitched collage work, even more diverse musical energies, and a renewed complexity of composition derived from the duos work as composers in residence with the Danish National Chamber Orchestra, this is arguably the most ambitious sample-based album ever made. Indians & Cowboys is self-released by Den Sorte Skole. None of the samples have been cleared, but all of the samples are listed on the sleeve; contemporary copyright law makes it practically impossible to clear the number of samples involved in Den Sorte Skoles work, and the duo insists on challenging a system built by big businesses to favor mainstream artists and big record companies. But by revealing their sample-sources, Den Sorte Skole hopes to pass on knowledge, spark interest, and give credit to the forgotten musicians upon whose shoulders Den Sorte Skole -- and the rest of the music business -- stand, build, and create. Includes fully illustrated 32-page booklet.”

"New age masterpiece from krautrock mystic Deuter, this album contains the music for the first two stages of an hour long kundalini meditation developed for westerners by Rajneesh (later known as Osho). The stages involve listening to the music and "Shaking" (stage one), "Dancing" (stage two), and "Witnessing" (stage three). These stages are not really meditations but a sort of preparation to facilitate meditation. Rajneesh had been trying to teach the practice of direct meditation for ten years before he realized his effort was futile: "I would say, “Relax”, to those I was teaching. They would appear to understand the meaning of the word, but they could not relax." He developed a technique that would activate the body with intense movement, creating tension in order to allow for the stillness of the meditation. Deuter and Rajneesh (along with a team of disciples that tested and consulted on these methods) collaborated to make music that would (in stage one and two) occupy the mind and compel the body. The music of stage three was designed to relax the body and compel the mind to awareness, acting as a transition to stage four, which is silent, with the person lying down, (actually) meditating. Speaking about music, Rajneesh wrote, "Between sounds of music there are gaps of silence. The authentic music consists not of sounds, but of the gaps. Music can make you aware of those gaps more beautifully than anything else." While living at the ashram as a disciple of Rajneesh, Deuter produced a series of compositions to be used in these "active" meditations. They were recorded using a multitrack tape machine and an assortment of acoustic and electronic instruments - guitar, tambura, bells, percussion, and synthesizers. The playing style is repetitious yet dynamic, incorporating loops, Indian classical motifs, musique concrète, and pastoral acoustic passages. Kundalini Meditation, never released on vinyl in the states, is presented here for the first time with the full length tracks. It was originally released in 1979."

"Two live versions from 1981.
A-side: shambling, insane acapella party version of the song.
B-side: best performance ever captured on vinyl, from a show at the Keystone, Berkeley, broadcast on KALX. black vinyl, 500 copies."

"A reissue of a very rare and obscure Krautrock gem from the early 1970s (various sources say 1971-73), this was the bands sole release, and combines relatively lo-fi recording with what "Crack in the Cosmic Egg" called "totally freaked-out guitar, bass and drums instrumentals, charged to the power of mind-numbing intensity."

"Tour cd from Tara Burke (vocals, chord organ) features 5 tracks all recorded live from February and July of 2001. Three tracks are Tara solo, one track also features Grant Acker on guitar and the other track features Grant on ebow guitar, Matt Shiley (fire bells), and Ben Chasny (guitar) along with Tara."

"Originally recorded for Sub Pop in 2000 but rejected for being too uncommercial. The album remained unreleased until it was finally issued as a bootleg (but from the master tapes - and featuring the band confirmed final mix ) in 2011 in a numbered edition of 200 with an insert." Guest appearances from John Olson and Cary Loren.

"Two brand new exclusive songs from Portland, Oregons Grouper and Brooklyns City Center. Two like-minded one-person operations on the softer side of noise, the two have played a fair amount of shows together and now join forces on this split 7". Grouper (Type Records) comes with the multi-tracked vocal murk and snow-buried atmospherics of "False Horizon" and City Center drowns under tape-manipulation loop disintigration and raw echoes on "This Is How We See In The Dark". Limited to 500 copies on a no-label private press by the artists. Clear vinyl."

HALF HIGH is LUCY PHELAN and MATTHEW HOPKINS. "Limited run of 40 CDRs, which come with an A4 fold out hand made collage by Hopkins.
After two recent releases Deserted Squares Under The Rain (Chemical Imbalance, 2017) and Folds (self released, 2016), which saw the duo inhabiting spaces swaddled in synthesizer warmth and scattered tape remains, Half High return, and make a harsh left turn, with Rubble Indent. The 3 tracks presented here follow a more hoarse kind of creeping than previous outings, with the introduction of heavily processed guitar and a more eroded approach to the electronics taking the pairs usual synthesizer/tape combo deeper into the gravel." - Half High.
Rubble Indent by Half High

"The enigmatic Heatsicks CasioTones evolve over this EP with the inclusion of accompanying drum machine -- four focused tracks that express the overload from stimuli and expansion from time space compression. Label art by Jean-Michel Wicker."

Last copy remaining has slightly bent corners. "When Russell Hoke first set out to put out a record - a decade or so
back - he did it with the simple idea of just having a copy for himself
to play on his old record player. He pressed up 100 of the now long gone
"Cosmic Outlaw" and then, with no real plan in place for distributing
it, he simply started donating them to charity shops and second hand
shops in the area Johnny Appleseed style. Some years went by and, once
again, Russell had the impulse to get more of his music back on record -
again so he could have a copy to play on his record player. Thus was
born "The Magic of My Youth"- an out of nowhere double lp of warped
real people outsider banjo & singin folk comprised of twisted
moans, surreal meditations and inverse field hollers that were mostly
recorded throughout the mid-1980s. Russell pressed these up in an
edition of 100 copies and packaged them in a gatefold jacket with hand
pasted front and back covers. Features such non hits as ive got a
desire to go sailing, youre darned tootin, utmost la,twisted
mountain."

Very limited repro of Fluxus artist Joe Jones first LP, originally issued by Harlekin Art, Weisbaden, in 1977. Its a cavernous free sound coming in somewhere between Alan Silvas Celestial Communication Orchestra and the A Band. His Tone Deaf Music Company, as he named his arsenal of homemade, self playing instruments, were also featured, musically and visually, on Yoko Onos Fly album. Highly Recommended!

"The first scene from the exploitation movie of the same name, directed by HERSCHELL GORDON LEWIS. Essentially a field recording of a group of teenagers destroying a room. No dialog, no background music. Sounds like a Haters show from 1968, pretty much. One-sided 7-inch release."

"Privately pressed and originally released in 1975, Kristyl was a Kentucky-based dual-guitar Christian psych band with a southern edge. Seven songs with lots of fuzz and heavy jamming. Comes on 180 gram vinyl." -No Label.

A cover of a song by Korean psychedelic rock legends Sanullim. Both a tribute to the band and a statement of solidarity and support for Japans Korean community, currently facing growing hostility from the Japanese right-wing.

7" includes an insert with a poem in Japanese and English by Japanese artist Junko Harada.”

From Tori Kudos liner notes:
“When I obtained cassettes of Sanullim from a Korean resident in Tokyo around 1980, the US-British world was in the rotten post new wave, but at that time South Korea had not had even a punk and was still at the stage of so-called "GS"; a situation of surplus value decomposition.

Sanullim was like an unexpected flower of the frontier district that suddenly shifted from “GS” to progressive rock. Wouldnt it be shocking if Jackie Yoshikawa & His Blue Comets were performing Uriah Heep? I do not know any similar examples that equal them in East Asia other than Les Rallizes Denudes.

Although I am not fundamentally concerned with mans politics, I remembered Sanullim when the anti-foreigner demonstration occurred in Korea town in Okubo, Tokyo, in 2012. It was an agonizing feeling which sent pressure up my spine. In response, this was performed on the street in Okubo.”

"CRAIG LEON, producer of late 70s albums by Suicide and Blondie among many others, recorded two solo records in the early 80s of proto-techno minimalist drone, including NOMMOS, for John Faheys Takoma label. Long considered a classic of electronic and cosmic music, as well as being a total anomaly for Takoma, NOMMOS is an album that sounds as if it could have been produced any time from its actual conception in 1981, up until the present. A pure mass of eye blinding expanse set adrift into the world. One time pressing, paste on front and back covers."

"Most people should recognize the name of this artist. However, most people will recognize the name of this artist when its paired with a production credit, not as...well, the artist. Craig Leon is, of course, one of the seminal NYC punk/New Wave producers who brought us so many excellent things from that scene, ranging from Suicide to Blondie. And hes continued his production work on up to the present day, of course. Still, very few people know about the electronic albums hes made himself. And thats a shame, because theyre fine, fine drone-a-delic stuff. Especially his first, "Nommos". Used as a soundtrack for a dance work by Twila Tharp (as was a lot of nifty NYC stuff from this general period), "Nommos" is supposedly based on African rhythms and the like. But really, its always reminded me more of some sort of missing link between the proto-industrial rhythm and drone of Suicide and the whole minimalist drone/static/repetition method as in Terry Riley, LaMonte Young, etc. Youve got the rhythm generator thing going on. Youve got the synthdrones. Youve got the constant repetition. The whole hypnotic but not necessarily relaxing vibe. Much of the album uses the nifty-but-simple trick of comb filtering to make the drums/rhythm box ring on a certain pitch. And then over this, Leon builds up layers of more drones. And more. And even more. And then sometimes, as in "Donkeys Bearing Cups", also adds a bunch of evil, headwarping processing to this. End result: hypno-brainmelt. On the first side of this, both "Ring..." and "Donkeys..." are fairly fast-paced affairs, constantly rhythmically pulsing, droning, buzzing...like the discoid equivalent of some mutation of LaMonte Youngs "The Tortoise, His Dreams and Journeys" pieces. But "Nommo" slows things way down, with this discontinuous, jerky, almost bluesy-type beat, over which everything just slowly builds chordally, like some weird heat-mirage architecture. Its a serious eyes-roll-back-in-head sort of thing...blissy, hypnotic...off in a kosmische sort of zone, but at the same time not really having that kosmische sound to it. Side two kicks off with a harsh, bzzzaaating rhythm, also jerky, and incomplete-sounding. But in this case, instead of building up a chord, Leon builds the components of the rhythm pattern. One bit here, another bit off in the reverb zone out there somewhere, and so on as this insectoid buzz-hum starts to key up and ripple away, a bit disquietingly perhaps. Then a voice...an actual voice, yes...and then another, joins this, sometimes tunelessly, making odd birdcall-like sounds, ahhs, wails, vocal line fragments, and so on. Whoevers doing this isnt credited, but I can say that it reminds me some of Meredith Monks primal-vocal type work. Eerie, spacy...quite trippy. Then BAM!!! suddenly were dropped without warning into the fast, frantic rhythm-box groove of "She Wears a Hemispherical Skull Cap". Its abrupt, almost startling, because you get locked into the former and chucked headlong into this. But as a chordal, hymnlike polysynth starts to arch over this, you just sit back and go yeahhhh.... as the dronebliss just washes over you in one long I-chord being played out and with. Theres things here that, like I said, remind one straightaway of Suicide. But its never really as abrasive an experience as Martin Revs great work with that duo. Instead, its more blissed-out. You could also draw some comparisons with some of the more motorik Kraut stuff; theres a sonic kinship here with, say, Clusters "Zuckerzeit". But its the obvious minimal/drone school linkages that really draw things together here, from the buzzdrone beats to the washing chords and hummmmmmmming synths. Head music? Oh, yes...yes, indeedy. But also, the sort of head music that anyone with an astute ear for an electronic beat can gravitate to. As for where to get this these days...no idea. Its odd that Takoma, which is usually known for folk-type releases, put this out, because its about as antithetical to a folksy-sounding record as one can get. But its very much worth hunting down if youre into the robotiker groove-trance brainhum sound its got." - Julian Cope. Very highly recommended!

"The skeleton in your closet uses your toys to make a din of minimal proportions. the soundtrack to your sleepless night. Will morning ever come?" - ? From the same camp that brought us the elaborately packaged Dean Brown lathe cut/box set/diorama a few months back. This one doesnt quite top the Brown release but it comes close.. Edition of 30 in hand assembled gatefold pop up sleeve.

"This is a recording of a private performance by Ross Manning in October 2015. All sounds are the product of electrical current generated by solar cells exposed to readymade light-emitting diodes (LEDs). In a darkened space, four cells suspended on strings were set in oscillating motion. Beneath them the artist placed small artificial light sources of different colours – yellow, green, blue and red – one at a time. The resulting electrical signals, amplified and sent to one of four speakers assembled in quadrophonic array, varied with each cell’s changing exposure to the LEDs, creating dramatic modulations in volume, panning effects and polyrhythms. By adding and repositioning LEDs closer to and further away from the freely swinging cells, Manning played his optical-audio instrument live, building a changing sound mass from the individual cells. No other sound sources or effects were employed in the single-take recording split over sides A and B of this LP." - Mark Gomes, 2016. Previous releases on Room40, Vitrine, mor mars, etc.. Some slight creasing /riingwear on the thin paper sleeve due to shipping mishap. Full color paste on sleeve/hand stamped labels.

Strictly limited to 315 copies (no repress, no digital version). Recordings rescued from a lone 1966 acetate: "Three teenage girls from Harlem and The Bronx equally inspired by the current west coast sounds as they were with local girl groups."

"Otto Muehl is an Austrian convicted child molester, who is best known as one of the co-founders as well as the most exciting participant of Viennese Actionism. Hes the sort of guy who might fuck a swan, and then scream a little poem about it. In the sixties his aim was to overcome painting on canvas through staging the process of its destruction. He made rhizomatic structures with scrap iron (Gerümpelplastiken), but soon proceeded to the Aktion in the vein of the New York Happenings. Gradually, Muehl began to distance himself from Aktion. He regarded the happening as a bourgeois artform, mere art. This is an exact reproduction of his 1971 Psycho Motorik LP, which documents that very departure."

Unreleased soundtrack to the 1952 movie The Bells of Atlantis directed by Ian Hugo. Music by Louis and Bebe Baron with narration by Anais Nin, whom the LP is credited to. Colored vinyl numbered edition of 200.

“Haunted by Takayoshi Kitajima and hung out to dry. No Intention is ready for the World Stage. Rabelais cycles all the way through inspiration and back to cliche. Entry level tape collage and weak mic feedback run in circles around the presets on a Roland box amp. This latest cassette is something of a digression / extended footnote on the recent Representative Works, in keeping with the tangential glossolalia of Don Quixote or Gormenghast. Text and voice is for the most part dispensed with. Who misses it? The waste of literature is laid bare via false starts, performative mistake and the bleakness of interruption. Simple black holes for small lives. Abortive guitar and rhythm box miniatures stumble towards the Weird Noise E.P. before dissolving into shameful TNB worship and karaoke run throughs of the nova musicha back catalog. Junk metal and rudimentary contact mic fumbles refer back to a general dismissal of reason and significance. Somehow context remains intact. Daniel Spoerri cant find where he left his wallet. Regret is no different than spinning the dial of a radio. Featuring contributions from T.D. It feels good to be wrong. Please hold your applause until the curtain falls. Mastered by Sean McCann.”

"Grey-area exact LP repro edition, originally released on Faheys Takoma label in 1967. Charlie Nothing was the fractured-psyche pseudonym of author, organic farmer, beekeeper and philosopher/clown Charles Martin Simon, inventor of the dingulator (guitar sculptures made out the metal from American cars). The Psychedelic Saxophone Of Charlie Nothing made a minor splash in the European free jazz melting pot upon its initial release, but the albums non-dingulating psych sax improvisation, accompanied by gong, conga drum and banjo (supposedly borrowed from Tiny Tim), is highly sought-after by the adventurous and heavily medicated. Limited to 500 copies." Very highly recommended!

"Recorded during the same home blasts that produced Dauphin Elegies (VHF Records, 2008), this 2007 trio session for harmonium, singing bowl, gong and esraj is one of the most ecstatic recordings in Pelts vast oeuvre. Like the legendary poet/musician for whom this album is named, Pelt have never gotten hung up on the epistemology of drones. The generation of meditative trance states is as valid when produced by Roscoe Holcombs banjo as by La Monte Youngs well-tuned piano. Hints of both lurk deep in the wells of sound Pelt produces. Two side-long slabs of aural bliss. Best heard behind a few bowls of your very best kif. Edition of 500 with stickered cover and insert."

"The full summer 1978 demo session recorded by Geza X, these are legendary, full-aggro punk tracks by perhaps the first purely punk band to ditch guitars in favor of loud, heavily distorted synthesizers, drums and the totally in-your-face vocals of Tomata Du Plenty. Included are versions of "Punish Or Be Damned," "In a Better World," "Peer Pressure," two takes of "122 Hours of Fear," "Through the Flames," "Sex Boy," "If I Cant Have What I Want," "The Girl in the Car with the Glasses and the Gun," "Magazine Love," "The Beat Goes On," "I Wanna Hurt," "Vertigo," "Its a Violent World," and "Government Love Affair (Dont Pay the Whore)." Glossy black & white cover with 2 fine band photos, and pressed 160 gram black vinyl."

Very limited vinyl issue of V-3s last unreleased album. No information or tracklisting on the sleeve (though it does include an extended version of Illogical off the Ego Summit LP), just a black and white photo of Jim flipping us off. Highly recommended! Limit one per person.

“Here we have the smashing debut from Mexicos The Size… sure managed to create a catchy synthdriven a-side on this 7″. The b-side is way longer than the 75 seconds long Tonight, but I still like it, especially towards the end where the drums takes up a bit more space. When I played it for some friends a few days ago they said the keyboards in that song made them think of Deep Purple… if they listened to Ultravox…”

"Sun Ras first solo homemade recordings eerily recorded onto a reel to reel in the beyond dark ages of 1948. Now that Ra is 100 and floating in the interstellar space, here is the blueprint of his trademark glee-spree sprawl dipped into the cosmic glitter of nothingness, alone in a empty church with nothing but his vivid and endless imagination to co-pilot. If the Carnival of Souls soundtrack by genius Gene Moore is enough to make you want to take it with you forever and drive off a bridge: heres more smiling golems of interplanetary lost-world haunts to pepper your eerie day. LONG LIVE RA. Colored wax, one sided very limited edition."

"Unlikely fan club reissue of this legendary KDB/DIY double-header from these wild Italo no-counts, originally released in 1979: the Tampax side pretty much has to be heard to be believed, "UFO Dictator" comes over like Crime-plays-The Boredoms-plays-Afflicted Man, with wailing "San Franciscos Doomed" style six string scorch and explosive solos that come over like the DIY equivalent of Bowies Raw Power mix while "Tampax (In The Cunt)" comes across as the model for the hysterical avant/refusenik moves of Mattins Billy Bao project, with one of the most insane vocal performances ever puked by an Italian over some of the most wretched avant noise ever strangled from a guitar. And thats just the first side! On the flip Hitler SS contribute three tracks that cross the snot of The Kids and European madmanisms with amphetamine garage, inept Ramones rips and massively crude two-second solos: "Somebody say the punk is dead" – not on this planet baby! Simply put, one of the greatest singles of all time. Highest possible recommendation!" - DAVID KEENAN, Volcanic Tongue.

"ELISA LAMs FAVE AVANT UNIT"
Yikes! This is not a record: its a ticket pressed in 12" format to get the f- outta this modern era of derivative nonsense in no time flat and get shotgun-expressed into a eerie world of risk taking / PHD-styled lessons in underground experimental extravagance par excellence.
Yuzuru Agis Vanity label delivers the same spinal-tingle-stun -upon- utterance with the same sting as heavyweight / uber strange underground labels like ARTIFACTS, SILVER KEY, YETTI WORDLESS, PALACE OF LIGHTS, PLAT-NUM PRODUCTIONS or the gem of floridas rotten improv scene SPITBALL RECORDS. Vanity is the sounds in the wild that will exist w/o an audience and make NADA sense, and even less as the flat circle of time moves onward to the future. Even being a major critic in the "Rock Magazine" and coining the words "Techno Pop"- the addictive & lustful Agis Vanity world has is a hushed jewel in the big-cash phallic swinging underground detectives-types. (Drop the "Salaried Man Club" tape set or trying counting all the VANITY flexis the crew has in the home piles- in the next cool-out skate park breather period (hour 2-1/2) and watch everyone sigh, count fingers and look the ground). Reissues are scarce- the "boot" of the second Tolerance lp from a couple years ago came and went w/o much of a ceremony- but this debut (the fourth release of the label landing on 1979) by the Masami Yoshikawa & Junko (no that JUNKO silly willy) Tange is a more wild, varied and EXPERIMENTAL slab to grind on and all the better for it.
What lies inside? Lots of nearly ECM-ish acoustic flourishes over effected guitar No wave-ish (scratch that lets say the more equivalent to Japans own voice-grated guitar duo NOISE-ish) stew of things, sounding more like random Dada-eqse experiments in texture and rhythm in a sleek urban-mystery cannon that really makes your brow take some kinda action. It sounds more akin to a Dilaudid- dosed Keith Jarrett trying his best to play along to some crude Thomas Brinkmann record cutting-beat discs, while Law & Orders Brisco and Logan aggressively questioning a dog that swallowed a guitar played by a barbwire criminal (cause "I WANNA BE A HOMICIDE too@!!) harrowing away in a distant concrete slab. Might as well have Murakamis crew of suave editors from 1Q84 transcribe the unholy soundtrack from Japanese to whatever language your ears need it to be, all while standing in the "sweet water" that Elisa Lams decomposing body sunk into it from days lost hidden and rotting in a rooftop hotel pool. Who DOESNT want to hear that?? The Tolerance debut is just plain O.D.D= Occidental Dome- Damaged.
All said and done, this is from a golden day where risks were taken and experimental music stroked the esoteric exotic fires of danger and lust, all while basking in the outsider glow of idiosyncratic glee. Take chances and be yourself, the evidence is all right here persevered for in the confusing grooves of "Anonym." Take it from this VAIN JIT - its about the best time you are spend getting "real"- REAL STRANGE. And that- is R.A.R.E = Recycled Assumptions Re-Qualified as Extraterrestrials.” - John Olson.

"Part two of the is awesome nineties tv documentary on the japanese "Kansai" scene hosted by Alice Sailor and David Hopkins. This segment focuses on the activities of Yamatsuka Eye and the Boredoms. Lots of live footage of related projects including Concrete Octopus, Denoba, Ufo Or Die, Hanatarash, Omoide Hatoba, and of course, the Boredoms."

"Part one of the is awesome nineties tv documentary on the japanese "Kansai" scene hosted by Alice Sailor and David Hopkins. Includes live footage and interviews with Shonen Knife, Nelories, Hijohkaidan, Masonna, Solmania, Bust Monsters, Super Ball, and more!!"

"This recording of Jane Weaver re-scored by Neotantrik (Suzanne Ciani, Andy Votel, and Sean Canty) has been described by Andy Votel as the "incidental music" counterpart to the conceptual soundtrack of The Silver Globe (EGGS 019CD, EGGS 019LTD-CD, 2014). Invoking and refracting Weavers hugely acclaimed The Silver Globe in one engrossing session recorded in Bergen, Norway, as part of an installation at the end of 2014, Neotantrik Globes contains Weavers original material dissected, atomized, and diffused into a side of mercurial, open-ended electronics and mechanical process. Weavers sylvan melodies, harmonies, and vibes are scrambled, extruded, and smeared so that one hears their morphing aspects in a swirling lightshow strafing from windswept ambience thru nebulous synth-space, garroting string-tension, and siren-like drone-pop to a screw-twisting denouement. The album is also notable for Cianis use of some specially commissioned Buchla modules -- some of the first pieces produced by Don Buchla in years -- plus a Nagoya Harp played through a fuzz pedal and dulcimer fed through a space-echo. Its totally absorbing and is perhaps one of thee strongest recordings from the trios one-of-a-kind setup, given an added dimension by Weavers hugely evocative voice. Single-sided LP. Artwork by Andy Votel. Edition of 500." - No Label.

"Known for occupying the fringe of the Takoma roster alongside Craig Leon and Charlie Nothing, multi instrumentalist Phil Yost recorded two classic albums, Bent City & Fog-Hat Ramble, for the label before releasing his third, Touchwoods Dream, on his own. Using Soprano Sax, Flute, Bass, Guitar and Percussion, Yost creates a unique form of Psychedelic Folk-Jazz that reflects the natural beauty of the San Francisco Bay Area he called home. Euro Import with Paste-on covers."